{"title":"在乔治·巴兰钦的《巴洛克协奏曲》中舞蹈如同音乐","authors":"K. Leaman","doi":"10.30535/SMTV.7.2","DOIUrl":null,"url":null,"abstract":"In George Ballanchine’s Concerto Barocco, a neoclassical ballet choreographed in 1941 to J. S. Bach’s Concerto in D Minor for Two Violins (BWV 1043), there is a memorable passage in which ten dancers hop on pointe while creating surprising visual accents against the music and against each other. The off-beat accents reflect the jazzy character of the ballet, and the pattern they articulate artfully relate to a metrically dissonant rhythmic motive in Bach’s score.","PeriodicalId":305096,"journal":{"name":"The Society for Music Theory Videocast Journal","volume":"14 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"Dance as Music in George Balanchine’s Concerto Barocco\",\"authors\":\"K. Leaman\",\"doi\":\"10.30535/SMTV.7.2\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In George Ballanchine’s Concerto Barocco, a neoclassical ballet choreographed in 1941 to J. S. Bach’s Concerto in D Minor for Two Violins (BWV 1043), there is a memorable passage in which ten dancers hop on pointe while creating surprising visual accents against the music and against each other. The off-beat accents reflect the jazzy character of the ballet, and the pattern they articulate artfully relate to a metrically dissonant rhythmic motive in Bach’s score.\",\"PeriodicalId\":305096,\"journal\":{\"name\":\"The Society for Music Theory Videocast Journal\",\"volume\":\"14 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-02-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Society for Music Theory Videocast Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.30535/SMTV.7.2\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Society for Music Theory Videocast Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.30535/SMTV.7.2","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Dance as Music in George Balanchine’s Concerto Barocco
In George Ballanchine’s Concerto Barocco, a neoclassical ballet choreographed in 1941 to J. S. Bach’s Concerto in D Minor for Two Violins (BWV 1043), there is a memorable passage in which ten dancers hop on pointe while creating surprising visual accents against the music and against each other. The off-beat accents reflect the jazzy character of the ballet, and the pattern they articulate artfully relate to a metrically dissonant rhythmic motive in Bach’s score.
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